Shaping a distinctive career driven by a versatile artistry and wide-ranging performances, French-Brazilian soprano Béatrice de Larragoïti has been lately hailed for her « particular, dense and dark voice », (Le Temps Tunisie), with « considerable resonance in the lower register » (Seen and Heard International), as well as for her « sensitive, authentic and sensual » stage presence (Operaportal), and « refreshing feminity ». (Early Music Today).
She has performed on various stages, festivals and concert platforms across Europe, America and the U.K., including Carnegie Hall, Wigmore Hall, Grimeborn Festival, Oxford Lieder Festival, Saint-Martin-in-the-Fields, Opéra de Baugé and Opéra en Plein Air, working under conductors such as Vincent Dumestre, Alexandre Piquion, Philip Sunderland, Jessica Cottis and Oliver-John Ruthven, and with directors such as Humbert Camerlo, Elaine Kidd, Simon Iorio, James Hurley and Yves Coudray.
?
Most recently, Béatrice has been praised for her performances of Ottavia in L’Incoronazione di Poppea (Hampstead Garden Opera), María in Astor Piazzolla’s María de Buenos-Aires(Grimeborn Festival and Bartók Plus Opera Festival in Hungary), and for a French song and arias recital at the Carnegie Hall in New-York with pianist Matthieu Esnult.
Principal operatic highlights include the roles of Diana in Cavalli’s La Calisto with English Touring Opera (cover), Winnie in Stephen McNeff’s world premiere Banished, Micaëla (Carmen, Bizet), Madame Lidoine, (Dialogues des Carmélites, Poulenc), Ariane (Ariane et Barbe-Bleue, Dukas), Dido (Dido and Aeneas, Purcell), Donna Elvira (Don Giovanni) and Miss Jessel (The Turn of the Screw, Britten).
